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ITC 

JO R Ct 6 'OUR THE

iN 

VT 

4) Message from ITC 

Collaboration from concept to reality. 

6) I Collaborate, You Collaborate, We Collaborate 

by Steven Heller 

8) SMINBROOK/HAYE: 

What's Good and What's Not 

by Lewis Blackwell 

12) TONIASWA/FARAEU/StMOICK: 

Transforming Text 

by Margaret Richardson 

16) MAMA/HAYCOCK MAMA: 

Creative Hedonism and High-Speed Collision 

by Andrea Codrington 

20) 6nrits/H0fit: 

Reconcilable Differences 

by Joyce Rutter Kaye 

24) rEtt.A/PIANSKER: 

Subversive Collaboration 

by Peter Hall 

26) 17 New ITC Fonts 

Text by John D. Berry 

34) Book Reviews 

by Lewis Blackwell 

42) (Re) Imagining the Book 

by Steve Tomasula 

MESSAGE FROM SIC 

Collaboration is the theme of this issue of 

U&lc. Collaboration is a concept and a pro- 

cess we know well as the U&k staff works with 

various designers in producing this magazine 

each quarter. Our intention always is to find the 

best design talent we can to create this quar- 

terly. Our goal is not only to produce the best 

visual and editorial product we can, but also to 

have each design team effectively show the vast 

range of ITC typefaces in use. 

To collaborate demands negotiation from the 

planning through to production, and inevitably collaboration 

comes down to trust. We choose designers 

whose work we think our readers would like to 

see. We want U&lc to inspire through contemporary 

digital design and to promote expressive typography 

and a passion for type. This was the case when Johnson 

& Wolverton suggested a horizontal editorial 

presentation simulating a road map for the Spring 

issue. The theme was interesting design projects 

from around the world, and the map captured this 

while incorporating intense text and display treatments 

of ITC type. This issue of U&k prompted 

incredible response. It was both pilloried and praised. 

We were accused of creating illegible pages, or told 

this was as simple to read as a map. 

Collaborating with the designers Laurie Haycock 

Makela and P Scott Makela at Words + Pictures for 

Business + Culture in Bloomfield Hills, Michigan, for this issue allowed 

us to explore the collaborative process in theory as well as in practice. 

The Makelas, who teach at Cranbrook, suggested going beyond 

mere documentation of the work of collaborative teams featured. The 

design is influenced by the Makelas' interpretation of the double-blind 

experiment used in medicine. Laurie Haycock Makela explains: "Dou- 

ble-blind is the term used for the method of evaluating the effects of 

a drug's course of treatment in which neither the subject nor the researcher 

knows who specifically is receiving the drug treatment under 

study. This concept inspired the making of this issue. Each collaborator 

represented here was invited to send one image on the subject of collaboration, 

knowing it would be paired with the fellow collaborator's 

submission': The Makelas, along with Cranbrook student Brigid Cabry, 

reassembled this artwork in their own collaborative response, collaborating 

with the collaborators in a design equivalent of double-blind. 

Again the use of ITC type in the design is crucial. The Makelas 

designed the new ITC typeface introductions of 17 new fonts, and they 

became so enamored of the new sans serif typeface, ITC Conduit by 

Mark van Bronkhorst, that it is consistently featured throughout this 

entire issue. 

A final note on collaboration. The most consistent collaborators 

we have are the U&k readers, those of you who each quarter read and 

respond to U&/c. Whatever your opinion, we are always grateful to hear 

from you since your correspondence proves that we sometimes inspire, 

other times provoke, but definitely your response tells us that we are 

not ignored. 

MARGARET RKHAROSON 

COVER IMAGE FRAME FROM "ADDICTIONS + MEDITATIONS;' AN AUDIOAFTERBIRTH MUSIC VIDEO CREATED BY WORDS + PICTURES FOR BUSINESS + CULTURE. 

TABLE OF CONTENTS/MESSAGE FROM ITC: HEADLINE: ITC CONDUIT BOLD ITALIC, ITC FLORINDA SUBHEADS: ITC FLORINDA, ITC CONDUIT BOLD 

TEXT/CREDIT: ITC CONDUIT LIGHT, LIGHT ITALIC, ITC GOLDEN COCKEREL ROMAN, ITALIC FRONT COVER: ITC FLORINDA 4 

MASTHEAD: ITC FRANKLIN GOTHIC MEDIUM CONDENSED, MEDIUM CONDENSED ITALIC, DEMI CONDENSED, DEMI ITALIC 

.111111 

EXECUTIVE PUBLISHER: 

MARK J. BATH 

EDITOR/PUBLISHER: MARGARET RICHARDSON 

MANAGING EDITOR: JOYCE RUTTER KAYE 

CONTRIBUTING EDITORS: 

PETER HALL, 

KAREN S. CHAMBERS 

GRAPHIC DESIGN: 

WORDS + PICTURES FOR BUSINESS + CULTURE: 

LAURIE HAYCOCK MAKELA, P. SCOTT MAKELA, 

MIKE JACOPELLI, BRIGID CABRY 

CREATIVE SERVICES DIRECTOR: 

CLIVE CHIU 

ART/PRODUCTION: 

JAMES MONTALBANO 

NICOLAS 0. SIMON 

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# COLLABORATE, 

YOU COLLABOAATE, 

WE 0013.ASORATE 

COLLABORATION IS THE ESSENCE Of CREATIVE ACTIVITY. The interrelationship of two or more people in quest of a common goal is about 

the most fulfilling of human experiences. After all, we are born of collaborators and our continued success in life is measured by the marriages we 

make with others in the service of creation. But this "Double-Blind" issue of U&Ic is not about collaboration as a cosmic force. Rather, it focuses on 

the mutuality—and the yin and yang—between two or more individuals in the creation of graphic design. 

BY STEVEN HELLER 

Graphic design is a creative discipline where collaboration is a necessity. Just look at the roll call of credits in any design annual. 

Sure, there are visionaries who create the styles, develop the ideas and promote the concepts that the majority of us apply. But 

ultimately, even these people are spokes in the wheel of process. 

No matter how talented, a designer invariably must answer to a client, which might be a design director, creative director, art 

director or other mediator who plays an integral role in the project. Just as an editor may tweak an otherwise fine text into brilliant 

prose, an art director might make a similarly invaluable contribution to a graphic work. In graphic design, like film, television and 

architecture, other creatives and their functionaries are intimately involved with the outcome. Creativity, indeed originality, 

depends on creative trysts between two or many partners. 

Some collaborations are imposed, others are divined. Whatever way they are formed, collaborations offset weaknesses 

and deficiencies and bolster strengths. But collaboration is much more than a simple calculus—MORE meta + 

COMMON COAL= INCREASED EffICIENCY/GREATER PRODUCTIVITY—it is a fusion of chemistries that results in 

a unique entity. When everything is working well—when, for instance, ego satisfaction derives totally from pride in the 

project as a whole—then the collaborators' distinct contributions result in an outcome that one person alone could 

not have accomplished. 

While a good collaboration is one of the most intense human relationships, it is also one of the most precarious. For 

a collaboration to succeed, the collaborators must, like a well-tuned machine, interconnect in every way; each must 

have a defined role—a function, purpose, job—that does not conflict with the other's abilities or jam up the works. 

While there are no preordained rules for how collaborations should work, the best efforts are those in which the 

participants respect each other's turf, while nimbly crossing the boundaries as necessary. One can be controlling 

or submissive and also be a good collaborator. Balance is the key. 

But a collaboration cannot be measured or weighed by imposing rigid parameters. Germany wasn't reunited in 

a day, after all. The best efforts occur organically. A kind of natural selection determines who does what and how 

tasks commingle. Even if these functions overlap, in successful collaborations the participants accept their own 

boundaries. In failed ones, territorial imperatives give way to an attack of the superego. 

The design field is full of collaborative configurations—business partnerships, creative teams and, more and 

more frequently, mates who form full- or part-time creative liaisons. Charles and Ray Eames and Saul and Elaine 

Bass were hugely successful married teams whose passions to create particular objects overcame the difficulties 

created by marriage and the barriers imposed by ego. Other collaborative couples who come to mind, such as Mas- 

simo and Lelia Vignelli, R Scott and Laurie Haycock Makela, Ellen Lupton and J. Abbott Miller, Rita Marshall and Etienne 

Delessert, Michael Donovan and Nancye Green, Forrest and Valerie Richardson, Katherine and Michael McCoy, and 

Louise Fili and myself, balance on the tightrope that tests both physical and emotional endurance. In these collabo- 

rations, the need to create something larger than the sum of its parts based on shared passions overcomes the 

otherwise immense obstacles. 

Individually, the designers mentioned above have professional personalities apart from their mates and reputa- 

tions based on individual merit. They function separately and could easily continue to work independently. But some- 

thing happens when they are drawn together—call it electricity (perhaps the same force that brought them together 

in the first place)—that transcends the limits of their individual capabilities. 

In all candor, I am incapable of designing as well as Louise Fili. She, on the other hand, cannot write. What we share is 

a passion for the beautiful and arcane artifacts of design culture. So together we produce books about graphic style. I have 

the broad view, she is detail-oriented. I excavate the materials, she organizes them. I write and edit, she designs. Nevertheless, 

she reedits my editing, and I critique her design. We fiddle and finesse, differ and argue until our joint effort is complete. And 

then, after the labor pains are over and forgotten, like all good collaborations, we do it again. 

As the designers profiled in this issue attest, collaboration adds rather than saps strength. It no more diminishes one's talent 

than sharing the same loves and hates. By broadening the creative experience and adding additional levels of creative power, the 

process becomes consummately addictive. The result is an entity that would not have otherwise been born. 

STEVEN Halta's MOST RECENT BOOKS ARE FACES ON THE EDGE: TYPE IN THE DIGITAL AGE (VAN NOS. 

TR AND REINHOLD) AND DECO TYPE: STYLISH ALPHABETS Of THE '205 AND '305 (CHRONICLE BOOKS). 

HEADLINE/BYLINE: ITC FLORINDA 

TEXT/B10: ITC FLORINDA, ITC CONDUIT BOOK, BOLD, BOLD ITALIC 

6

The 

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Membership of ATypI includes 

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proponents and users of 

type and typography. 

CRAFT AND TECHNOLOGY WORKSHOPS, EXHIBITIONS, 

SOCIAL FUNCTIONS, LOCAL AND SPECIAL LIBRARY VISITS 

THAT WILL STIMULATE, EDUCATE, INFORM AND ENTERTAIN 

EVERYONE INTERESTED IN EFFECTIVE COMMUNICATIONS: 

INFORMATION DESIGNERS, ART DIRECTORS, LETTERING 

Call now for further information on all 

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Tel (+44) (0) 1737 7801150. 

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Email: atypigsharonirving.co.uk . 

ARTISTS, BUSINESS AND LEGAL EXPERTS, EDUCATIONALISTS, 

FINE PRESS PRINTERS, CALLIGRAPHERS, GRAPHIC DESIGNERS, 

PUBLISHERS, SOFTWARE DEVELOPERS, TECHNICAL WRITERS AND 

TRANSLATORS, TYPE DESIGNERS, TYPOGRAPHERS & TECHWEENIES .

WOMAN NEEDS A 

MAN LIKE A FISH NEEDS 

A BICYCLE " 

Top: Jonathan Barnbr000k/Tony Kaye: Matchbook is their statement about 

their collaborations in the advertising industry. 

Left to right: Barnbrook/Kaye: Frames from a spot for Lair du Temps 

for Opera-RLC, Paris; Barnbrook: Fish ad for Guinness; Barnbrook/Kaye: 

Frames from the Lair du Temps collaboration. 

JONATHAN BARNBROOK AN[ 

Itial3'so,ci 44LE 

RICCI

HE IDEA OF CREATIVE COLLABORATION IS 

conundrum. THAT PARTNERS ARE SUPPOSED 

O BE IN TOTAL AGREEMENT OVER DEEPLY 

ERSONAL DECISIONS IS SO DIffiCOLT TO 

ATOM AS TO SEEM ALMOST IMPOSSIBLE. 

W 00 YOU REALLY SHARE THE ATTRI00 

ION Of AN INTUITION THAT LIES AT THE 

ART Of THE CREATIVE PROCESS? HOW 00 

00 EXPLAIN AND DISCUSS AND fORM THE 

RECISE AND YET UNEXPECTED ELEMENTS 

*VOLVED IN CREATIVE WORK? 

-ONY KAYE: W H ALb 

BY I.EWIS BA ACHWELI 

9 

With the occasional collaborations of British director 

Tony Kaye (based in Los Angeles) and designer/ 

director Jonathan Barnbrook (in London), such prob- 

lems are brushed aside. Collaboration across the 

globe has become a practical, routine activity. "Tony 

tends to just set you off on an area and let you get 

on with it," explains Barnbrook disarmingly of the 

partnership that has involved him in providing ani- 

mated typographic elements for Kaye's commer- 

cials. "He's very trusting; we both know what's good 

and what's not:' 

But while it is easy to agree on what is, say, a 

good and a bad apple, one would have thought it 

was a little less clear-cut with some animated type. 

Not so, it seems. "It's difficult to remember the 

process," says Barnbrook. "It is usually very quick. 

We will use the fax a lot. I will create much more than 

ever sees the light of day. But there is always a 

mutual respect, a concern with doing the best job:' 

Kaye is probably the single most powerful influ- 

ence in bringing animated type into commercials 

in the '90s, with a series of award-winning spots. 

He not only brought Barnbrook into contact with 

film in 1990, but has since pushed him forward as 

a director on the roster of Tony Kaye Films. This led 

to Barnbrook directing three of the multi-award- 

winning BBC Radio Scotland commercials in 1995, 

which have influenced a rash of animated typo- 

graphic commercials across Europe. 

Barnbrook continues to have much to offer to 

Kaye on the typographic front through his own 

development as a designer, now with a range of 

typefaces released besides his work in print. He 

admits to being drawn to work more fully in film, 

adding, "I am not sure how much more animated 

typography we want to see in commercials. There 

is also the frustration of being asked to work on 

a six-second end title and then having it cut to two- 

and-a-half seconds, as has just happened to me. 

I would like to try more live-action:' 

Kaye says his work with Barnbrook reflects his 

fascination with designing in film. "I started off as 

a designer, a not very good one, before I went into 

HEADLINE: ITC CONDUIT BOLD BYLINE/B10: ITC FLORINDA 

TEXT/CAPTIONS: ITC FLORINDA, ITC CONDUIT LIGHT, LIGHT ITALIC 

advertising. I've since been able to work with a lot 

of very good designers, but Jon stands out for his 

innate understanding of film. Once I introduced him 

to working in the medium, he immediately under- 

stood what a huge potential there was for him in film:' 

Like Barnbrook, Kaye describes the collaborative 

process in remarkably simple terms. He gives Barn- 

brook the words, an idea, and waits for the results. 

Typically, Barnbrook would not be able to see the film 

that might surround the typography while he is 

creating it. "In many ways, I think we have evolved 

beyond our earlier collaborative period. Now I am 

OT 

working on a feature and Jon is shooting his own 

things," says Kaye. 

But the mutual respect remains, the knowledge 

that each is stimulated by working with the other. 

Barnbrook knows that at some point he is expected 

to tackle the typography for Kaye's magnum opus, 

a personal film on abortion (500 hours-plus of foot- 

age currently shot). This could be a tough one, but it 

holds no fears for Barnbrook: "The thing about Tony 

is that whatever happens in a project, you know he is 

always working for the best result, that he cares 

passionately about it:' 

LEWIS BLACKWELL IS THE EDITOR Of THE 

LON00148ASEO COMMUNICATION ARTS 

MAGAZINE CREATIVE REVIEW.

Imageand Narrative:A Layered Thingii 

by: Steve Tomasula11 

11 

11 

No not that!" Kafka screamed when his publisher suggested a collaboration— 

an illustration of the bug in Metamorphosis to accompany the text. -Anything but that!"— 

a writer's typical sentiment. Is the bug the Other, the terminally ill, the Jew in Vienna, all and 

more of the above? Or is it the blob from the pen of some sci-fi illustrator? What really horrified 

Kafka, I believe, was Simonides, in toga and laurel, claiming that a poem was a speaking 

picture and a picturea mute poem: 

an attitude that assumes there are 

nomoredifferences between these 

twolanguagesthanbetween Greek 

and Latin. Yetwriters since Aristo- 

690 

tlehave tried to explaina gulf 

betweenwordand imagethat is 

widerthan the Aegeanand which 

we failto cross every time we try to 

describe one with theother. Still,if 

any generalization canbe made it 

is that onesays, the other is seen. 

Atthe core, one is spatial-2-D, 

a flat land, its sister temporal. Time 

in Flatland mirrors the eternal snows, 

the moment fixed forever on Keats' 

Grecian Urn whilenarrative timeis 

an arrow crossing a terrain, which 

exists only in the mind of the reader. 

Similarly, ekphrasis, painting in 

words, isthe counterpart to narrative 

painting. Buton the page, the word 

painting is nomore a-painting than 

the narrative painting is a narrative. 

Or ratherone is nottheother in the 

way that Magritte'spipe is nota 

pipefor,as WJT Mitchell pointsout, 

at one level, the figurative, it is. The ways that it isn't, though, seemmostinterestingfor 

writers and graphic designers who'd like to collaborate—and an inherent source of tension. 

In terms of narrative, a verbal representationthatmoves through time, the fixed body of an 

eternal moment is a corpse. A reader hasto stopreading to look at form,even the formof 

the wordsheorshe is reading, andto awriter, a pause in reading is likealittle death—something 

that all designers who want to work with writers should consider. The problem is compounded 

if the reader stops reading in Latin to reread the same material over in Greek. Of 

course, design that aspires to art rather than decoration is also open ended. So it seems as 

if the cause is not as hopelessas Kafka thought. Rather, a more usefuldynamic in terms of 

image and narrative is closer to what goes on in parody. That is, what makes parody work is 

he ability of the viewer/reader to retainthe original, such as Othello, in his/her mind while taking 

in the pseudo-copy, such as 0-Jello; it depends on a reader to note the fl differencebetween 

the two. The action is in the gap. So the point becomes not to dress one language in the 

drag of the other but to leteach be itself and let meaning come out of the difference in these 

sign systems that are at timesin harmony, but always in conflict. Images and layoutsuggest 

other images andtexts and histories, while words tellwhat image can only suggest. When 

these two languages are in discourse, not as hybrid, not as fusion, when their differences are 

used to contextualize each other, the whole they create together opens outward to the same 

degree that illustration closes meaning down byfixing it in a corpse. When word and image 

push toward Simonides—that is, when theybegintolose their separate identities, the project 

slides, as Kafkafeared, toward illustration,redundancy,fetishism, decorativefrills. When 

put in juxtaposition (spatial pun intended),design and language can create a third thing, a 

denser thing, a layered thing; together they compose the fl meaning. 

11 

¶ 

0 

Center Doubleaind illustration by Farrell with text by Tomasula 

Background: Jonathan Barnbrook/Tony Kaye: Frame from Lam du Temps spot for Opera-RLC, Paris

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Top: Stephen Farrell: Double-Blind 'Universal Eyepiece" 

Bottom Left Stephen Farrell/Steve Tomasula: spread from "TOE: 

a piece created for Emigre magazine's Joint Venture issue 

Top right Anne Burdick: Double-Blind seesaw 

Bottom right: Stephen Farrell: Slip Studios logo 

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TE BY MARGARET RICHARDS** 

IPLA;'H 

The collaborative affinities of Steve Tomasula and Stephen Farrell alchemize on the page. Tomasula writes profoundly 

and passionately on ideas; Farrell transmutes these into designs inspired by typographic magic. The chemistry 

between the writer and designer fuses two distinct disciplines into a new form, the manuscript as art, as rich 

interpretive text. 

EP (OR AS liVILLIAIYLGASS_ASKSJS_IT_PDSSIBLEIO_WRITE TRAGEDY IN LIMERICK?) 

— Steve Tomasula 

Tomasula, meta-fiction writer, essayist and critic, is published in literary journals like The Review of 

Contemporary Fiction and Black Ice. He teaches creative writing at Notre Dame University in South Bend. 

Farrell is the principal of Slip Studios in Chicago, and a designer of typefaces for T-26 and his own 

Manuscripts Folio. He also teaches at The Illinois Institute of Art. Both work with other collabora- 

tors, but when they have the opportunity to work together, their complementary talents mesh to 

produce unique experimental creations. 

One such project is "TOC' which appeared in the Joint Venture issue of Emigre magazine "TOC" 

is a 17-page meditation on the concept of time paralleled by a compelling narrative of a woman in 

crisis. Farrell's empathetic response to Tomasula's layered text—using expressive typography, 

evocative and effective horological images draws us into the collaborators' world. The writer and 

designer worked for two years on this project. 

Tomasula's voice is authorial. His spiraling conversations reflect his 

writing style, which is compelling, elliptical, philosophical, theological, 

literary and, often, very funny. His interests range from a preoccupation 

with medieval sensibilities to an analysis of contemporary literary criti- 

cism. His reviews often convey these preoccupations, including a recent 

account in Private Arts 8/9 of Raymond Federman's Double or Nothing: A Real Fic- 

titious Discourse and Critifiction: Postmodern Essays (again painstakingly designed by 

Farrell). Collaboration for Tomasula is a dialogue of sorts. He resists design when 

it is unsympathetic to the meaning and feeling of the text. The act of prettifying 

text arbitrarily or a reducing of ideas to mere visual elements is, to Tomasula, the 

encroachment of the enemy. He is interested in design as image intertwined with nar- 

rative. He also expects design to be sensitive to the evocative nature of fonts. His rela- 

tionship with Farrell is based not just on respect for Farrell's expressive use of type and 

dramatic setting of text, but on a shared intellectual vision and belief that design can be 

inherent to the effective presentation of ideas. 

Farrell's Chicago firm, Slip Studios, has been involved in a series of joint venture projects 

that support writers and artists. Occasionally, these predominantly print projects will be 

published and distributed by the studio itself. Farrell describes the process of collabo- 

ration with a metaphor. "If the writer is the mind, the designer fashions the body and sets 

it in motion: he says. Design, the body language, literally embodies the text and makes it 

come alive. Farrell responds to ideas with a dramatic sensibility, reacting to the text in terms 

of meaning and emotion and imbuing the words with typographic resonance. He likens 

designing to directing: "It is about pacing and drama. In response to the text, I want to create

a pause, then I insert a blank. I let the surface of the page hold the silence:' This kind of engagement 

demands a close liaison with the writer that Farrell finds crucial for his concept of collaboration. In the 

case of Tomasula, he draws from "the cerebral metaspace in which Steve [Tomasula] conducts his writine 

Currently the two are working on a five-chapter novella by Tomasula. The form will be a media hybrid, 

consisting of three printed chapters (Farrell is contemplating designing typefaces for the second chapter 

on Velasquez and painting manuals from 17th-century Spain), and the fourth chapter is conceived as a 

CD-ROM. The last chapter will appear as a Web page. 

THE THIRD COLLABORATOR 

Tomasula and Farrell were interviewed by the designer/writer Anne Burdick in the Joint Venture issue 

of Emigre. In one more meshing of interests in theory, text and design, Burdick is now co-editing an 

upcoming issue of the ebr: electronic book review, an online forum for critical writing, with Tomasula. 

Reflecting both Tomasula and Farrell's interests, Burdick contrasts two forms of the collaborative process. 

In the traditional sense, clients, designers, editors or writers each have a delineated role, the responsibil- 

ities of each clearly defined. In this situation each collaborator works as part of a team, relying upon the 

strengths of the other. In other, more amorphous collaborations, however, the parameters and roles are 

blurred. In some ways this is a less efficient way of working, but there is the surprise and challenge of "see- 

ing things through another's eyes while at the same time pushing your own limits: she says. In this category, 

she includes her collaboration with Tomasula. 

Burdick, who writes and designs from her Los Angeles studio and teaches at California Institute of the Arts, 

is interested not just in text, but in the form that writing takes. These issues she has explored with Joe Tabbi, 

the editor of ebr, and Tomasula. Now Burdick and Tomasula are guest editors for the upcoming ebr6 

http://www/altx.com/ebr) on image and narrative. Tabbi invited them, he says, because of Burdick's "good 

ritical mind and her ability to think visually." Tomasula, according to Tabbi, is a good writer of fiction who 

lso provides an innovative strain of modernism and postmodernism. The co-editors are now soliciting 

essays, visual projects and reviews, and Burdick is working with Tabbi and the ebr team on a redesign of the 

site that, according to Burdick, "takes seriously the effects of the design on the writing that is 'performed' 

there:' This issue of ebr6 is expected to be online in August. 

MARGARET RICHARDSON IS EDITOR AND PUBLISHER Or O&M 

HEADLINE/SUBHEAD: ITC CONDUIT BOLD CAPTIONS: ITC CONDUIT LIGHT, LIGHT ITALIC 

PULLQUOTES/TEXF ITC GOLDEN COCKEREL ROMAN, ITALIC, ITC CONDUIT BOLD ITALIC 

BYLINE/B10: RC FLORINDA 

1 

4

Creative,5Hedonism 

BY ANDREA CODROICTON 

S cott Makela has a bad cold, or at least this is what I'm 

told as my call to the studio he shares with partner and wife Laurie Haycock Makela is patched through 

to their home, where he is taking it easy for the day. Laurie, I imagine, is sitting in the studio, sur- 

rounded by the familiar sight of books, magazines and stray artwork: the visual detritus of everyday 

life that at some point might twist its way into her refined creative vision. Scott at 

rest is admittedly more difficult to conjure. With a famously short attention 

span and a propensity for creating multimedia work that can best be 

described as athletic, he doesn't strike me as an easily confined 

patient. Laurie just laughs. "I can take a year to make a book' 

she agrees, and he can barely stand to spend more than 

two days on a poster!' 

Through the ghostly clicks and delays of long-dis- 

tance telephony—and a free-form conversation 

that ranges from music to sex to machines to 

childrearing—a picture begins to emerge of the 

couple's multifaceted partnership. After five years 

of living parallel but separate professional lives— 

Laurie as the renowned design director at the 

Walker Art Center and Scott as head of his own digital 

imaging studio—the couple find themselves having to 

mediate their disparate instincts, esthetics and skill sets 

as Cranbrook's new co-chairs of the 2-D design department. 

Add to that the pressures of running a joint business and raising a 

spirited six-year-old and you get two people who are masters-in-training 

of the emotional balancing act. "We're still trying to tie the pieces together 

with our design work:' confides Scott, "because we really are completely 

looking from different sides of the fence. We've had some problems, I'm not 

going to kid you:' Despite such difficulties, the couple admits to having more 

work than they could ever have imagined possible—everything from crea- 

tive directing a Raygun Publishing start-up called Sweater and conceiving film 

titles with Jeffery Plansker for an upcoming Hollywood picture, to spending time in 

Switzerland as adjunct professors at Ecole Cantonale d'Art de Lausanne and creating a 

controversial promotional brochure for Virgin Interactive. 

The creative tension that is manifest in the Makelas' work—print vs. moving picture, detail vs. mass, 

the intellectual vs. the physical—clearly represents in miniature the fragmentation of the design field 

on the whole, and this inspires the couple's teaching. "The reason we're here is because we are two 

voices walking side by side, yet we represent the complexity of the field:' says Laurie. Of course, part 

of their job as educators and creative enablers is to further complicate things—by opening up minds, 

by breaking down notions built up by an industry all too often controlled by the corporate bottom line. 

The Makelas' come-on in their department's student prospectus reads, appropriately enough, "Cran- 

brook is intellectually and creatively hedonistic, emotional, monastic. Come and be prolific:' 

HEADUNE: ITC CONDUIT BOW, BOW ITALIC BYLINE/ELIO: ITC FLORINDA TD(T/CAPTIONS: ITC CONDUIT UGH T, LIGHT ITALIC 

Breaching boundaries that exist between different media has long been of interest to the Makelas, who 

first met in 1985 while teaching at Otis Art Institute of Parsons School of Design in Los Angeles. Whether 

it was coincidence or kismet that the designers met at the same time the Apple Macintosh first came 

out is anybody's guess; that the desktop computer changed their lives inalterably is not. "Scott had such 

shame about his inability to draw or handwrite': recalls Laurie, "that when computers arrived, his cre- 

ativity was punched out. It was like a prosthesis. Suddenly he was able to express himself' And express 

himself he did, in bold, adrenaline-driven graphics that muscled their way into music videos and TV 

commercials across the country. "I think the digital realm is part of what makes our work possible:' says 

Laurie, who spent years herself conceiving a project at the Walker called "Digital Campfires: Stories of 

Life and Liberty:' a multimedia exhibition exploring the interstices and overlaps between technology and 

democracy. (For reasons of funding, the exhibition was canceled, although the project 

has since taken on a new, NEA-funded life as an extensive Web site and CD- 

ROM collaboration with the MIT Media Lab that will introduce teenagers 

to the Bill of Rights and its manifold issues.) 

Increasingly, the Makelas have found inspiration in a multi- 

media collaboration called AudioAfterBirth, a synesthetic 

hybrid of machine funk sounds and haunting lyrics that 

will be combined with retina-searing graphics on a 

multiplay CD-ROM called "Addictions + Meditations." 

"AudioAfterBirth is really our first total collaboration:' 

explains Scott, who released the first album with 

Emigre Music four years ago. "Laurie was a backup 

singer last time, but now she's become the voice that 

people respond to the most. We've found a groove 

together in music that's much more comfortable:' The 

fluidity of music, its very abstractness, is what makes 

collaboration easier for the designers, who admit to having 

"made a point of being in different professional sandboxes" 

in the past. So far, there seems to be no signature "Scott sound" or 

"Laurie sound' but rather a seamless amalgam of auditory sensation. 

As may be indicated by the name of the couple's self-created music label— 

Flesh and Fluids—issues of digital production and human reproduction are 

closely linked. Scott indeed admits to a "perverse affection for the machine 

as a sign for what is actually happening in the flesh:' While the Makelas have 

worked on countless projects both together and separately, they have produced 

just one child, their daughter Carmela—a sign that the correlation, while fascinating, 

need not be taken too literally. Parenting has been the ultimate test of the Makelas' colla- 

borative ability: an admittedly intense experience. "Carmela's a hybrid of both of our person- 

alities and drives," marvels Scott. "I can't think of creating anything more powerful than her." 

Power and difference play a part in any collaboration, be it personal or professional, and these are 

aspects the Makelas hope to tease out in their Double-Blind concept. "Collaborators are not necessarily 

alike," says Laurie, "and what's interesting to us is why two very different people even want to talk to 

each other in the first place:' The creative collision that occurs when the couple approaches the same task 

with their own set of ideas and preconceptions gives them what Scott terms "a running rocket start" on 

solving design problems. "Then we actually begin seeing how the atoms start intertwining with each other." 

ANOBEA 00011.**TON IS A WRITER BASE* IN NEW YORK. 

1 

6 

Center. Laurie Haycock Makela: Double-Blind 'Putting Our Heads Togett 

Top right: P. Scott Makela: Double-Blind 'Heaven and 

Bottom right: P. Scott Makela/Laurie Haycock Makela: 'PleasurePower" for Virgin Interact

I'm 

going to the 

STUDIO 3IAIOH 

XuloR 

Top left, bottom left and bottom right: P. Scott Makela: "Heaven and Hell" 

Top right Bates Hori: "It's About Change" for LifeBeat 

Center. Allen Hori: Double-Blind photographic arc

hor 

BY JOYCE RUTTER *AVE

=") 

Edirectly opposite endi:' 

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C.D 

CIZ 

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explains Allen Hori o is partnership with Richar 

Bates. "We end up arguing for the same point:, That 

wow said, the principals of Bates Hori, a New York 

studio, sitting across from each other at a restaurant 

cW table, lay down their menus and, to their amusement, 

proceed to place identical lunch orders of seafood 

rolls and mixed greens. 

By recognizing and reconciling their differences 

and understanding the strength of their divergent 

temperaments, this couple has established a resilient 

bond on professional and personal planes. Their var- 

ied approaches to creative problem-solving emerged 

when discussing the Double-Blind concept for this 

issue of U&lc. While Bates probed the metaphor, 

its scientific origin and its degree of deception, Hori 

took it all in with a shrug. "He's the questioning one; 

the pessimistic one:' says Hori. "I'm the nonquestio 

ing one:' Bates responds that his querying nature is 

a function of his job as VP/creative services and cre- 

'- f ative director of Atlantic Records, where he heads 

a department of i9. "A big part of my job is ask: lot 

of questions, so I don't waste a lot of time' he says: ' 'I 

Left: Bates Hon: Holiday card for LifeBeat 

Lenten Allen Hon: Double-Blind photographic arc 

Right: Richard Bates: Double-Blind 11-liair Show'

It's about ciel atir an, 

nvironmen tna washes 

ver ra hthan er 

omeftmng t at 

like to be a big-picture kind of person; I like to have all the 

information:' Hori, on the other hand, takes an opposite 

tack. He explains: "In asking questions, the more parame- 

ters you set. The more questions are answered, the more 

restrictive it becomes:' 

These differences make them well suited for their jobs. 

While Bates thrives within the corporate group dynamic, 

Hori prefers to work from their peaceful Chelsea apart- 

ment, accompanied only by two cats, named Myth and 

Book. But this balance came about slowly. Before open- 

ing the company, Hori worked for several years as an 

art director with Bates at Atlantic, where office conflicts 

would often carry over after-hours at home. Bates con- 

cedes that relative solitude provides Hori his ideal work 

environment. "The same things that give Allen his indi- 

viduality and make his designs good are the same things 

that make him not conform to the group:' he says. 

When beginning projects, Bates and Hori concep- 

tualize together and then decide who will flesh it out. 

("Someone has to take the lead, because it's not physi- 

cally possible to share the work:' says Bates.) Once the 

project is underway, the partners continue to exchange 

opinions and suggestions. Because he is away during the 

workday, Bates realizes he has to temper his criticisms. 

"We are equal partners in everything, so if it appears that 

I whisk in and make comments, I know it's upsetting 

because Allen may feel he's working for me:' he says. "I 

have to take the tone of my voice down; the dynamic 

has to change:' 

HEADLINE: ITC CONDUIT BOLD PULLQUOTES: ITC LENNOX BOOK, ITC CONDUIT BOLD ITAUC 

TEXT/CAPTIONS: ITC GOLDEN COCKEREL ROMAN, ITAUC BYUNE/BIO: ITC FLORINDA 

What Bates and Hori share is a cerebral approach to design, where a message is 

complex and multifaceted and involves a certain amount of interpretation and inter- 

action on the part of the reader. At the same time, Bates credits Hori for making 

that experience calm and poetic, rather than manic "It's about creating an environ- 

ment that washes over you, rather than something that screams at you:' says Bates. 

This philosophy reveals their roots at Cranbrook, which each attended, but at differ- 

ent times. Hori, a native of Hawaii, was at Cranbrook during the mid-198os before 

working at design firms in the Netherlands, including Hard Werken in Rotterdam. 

Bates was a student following a stint as an art director at Whittle Communications 

in his native Tennessee. The two met when Hori returned to the Bloomfield Hills 

campus for a visit. "The whole [philosophy] is based on intelligence; to not drag 

a project out of stupidity:' says Hori. "There is a certain amount of respect on the 

designer's part—the design has to work for the designer's sense of self first:' Bates 

adds: "I don't think either of us is interested in coddling the lowest common denom- 

inator. We're not interested in giving a message out easily, like a newspaper headline:' 

Since forming in 1993, the Bates Hori studio has been selective about clients, 

choosing those who will allow the team to adhere to their vision. Projects include 

exploratory paper promotions for Potlatch and Mohawk, two Absolut ads aimed 

at designers for I.D. Magazine, print pieces for the fashion firm Westcott Design 

Group and campaigns for LifeBeat, an AIDS organization. Often the work involves 

a surreal overlapping of images and type, creating seamless shapes that meld mes- 

sage and form. Despite having a range of experiences to draw from and a variety of 

tools to use, the Bates Hori studio style is rooted in restraint. "A large part of being 

a designer is the editing skill:' says Hori. "If you take responsibility for some kind 

of authorship, then you have to learn how to edit, to know what to leave out and to 

know when to stop." 

JOYCE ROTTEN KAYE IS MANAGING EDITOR Of 

2

of 

Just betty he two of us, I k 

og who knows A gag who...As if the work 

HOW DO YOU REALLY SHARE THE ATTRIBUTION OF AN INTUITION, THAT LIES AT THE HEART OF THE CREATIVE PROCESS 

Far left: Bates Fiori: Studio mascot Kitty by Mitch 0' Connell and 

Bates' "Hair Show' 

Above: Double-Blind collage: Jeffery Plansker, Ed Fella, and another 

Kitty by O'Connell

Have I Told You Abou 

Together, we can be written about! Just between the two of us, I know a guy who knows a guy who...As if the work itself weren't enough. 

Now, with an insider's seat and a soft-self pitch, we can write our passports into the history books. It's your word against mine. That's 

press for you...and that's team work. Celebrity sightings, "bitch magnets," Scratch and Sniff Finger Tip Scented Pillow Cases:" The flaming 

dog shit bag men always ring twice. Push the button, buddy. But wait, this just in...Le chimp sportif toxique found crossing "twofold runt 

stilts" with "powder blue forest ranger dress slacks" per our conversation. Sincerely, Dorf. 

TOXIC 

SPORTS 

CMTZWIT3Po 

Copyright 1983 PE+0 Subvertising,lnc. A division of Supply&demanD. "Omniscient Giraffe Broth" + "Aboriginal Dry Hump" are registered trademarks of PE+O Subvertising. 

® kg 

Dis 

O 

Left and top right: Ed Fella: Double-Blind illustrations 

Above: Jeffery Plansken Double-Blind "Toxic Sports Chimp" subvertisement 

2 

4 

Right: Frames from "Candy Everybody Wants," a Fella/Plansker/ 

Makela video collaboration for 10,000 Maniacs

FettalSUBVERSIVEPlansker 

Though they have collaborated just once, Jeffery Plansker and Ed Fella -q 

have a shared interest: both like to make pointless aavertise ments. 

Plansker, a director of commercials and music videos, pursues a sideline in 

what he calls "subvertising"— absurd ads that sell nothing, but mimic and 

parody the language of mainstream advertising. Fella, a design professor 

at California Institute of the Arts, spends his spare time making posters 

advertising lectures that have long since passed. 

That the director and designer have an affinity for subversive advertising 

is probably due to overexposure. Both grew up with the Michigan advertising 

business, Fella working for 30 years with a Detroit design studio turning out 

collateral for the automotive industry, and Plansker, as the son of an art direc- 

tor, attending his first shoot (a Plymouth Road Runner commercial) at the im- 

pressionable age of two. Subvertising, says Plansker, "creates a necessary form 

of commentary in a complacent society. It's being able to look at the general 

landscape of America and say `this is f***ed: I initially did it because I had 

a resentment of the simple nature of mass media that speaks to everyone in 

such simple terms:' 

Fella attended art school after retiring from commercial art, and introduced 

the vernacular of his "low end" profession into the "high design" context of the 

Cranbrook Academy of Art. By reviving and upend- 

ing the rules and tools of his former trade in his 

highly idiosyncratic compositions, and by teaching 

students how to deconstruct the visual language 

of commerce around them, Fella helped instigate a 

movement against the prevalent Swiss Modernist 

approach to design. The movement spawned a series 

of design rebellions and inspired the typographic 

antics of RAY GUN and typefaces like the ubiqui- 

tous Template Gothic—designed by one of Fella's students, Barry Deck. Fella's 

posters for CalArts and the Detroit Focus Gallery ("an ideal collaboration") 

are playgrounds littered with the lettering styles and dingbats of his days as a 

"layout man;' but with labyrinthine messages, mischievous wordplay and an 

irregular spacing easily mistaken as naiveté. "The irregularity is rigorously 

thought out," he said to colleague Jeff Keedy in an EMIGRE interview in 1989. 

"If deconstruction is a way of exposing the glue that holds together Western cul- 

ture, I thought, 'What is it that holds together typography? It's space:" 

The convergence of Fella and Plansker's paths was inevitable. Plansker's 

commercial and music video work is a showcase of layered sound, image and 

experimental design featuring collaborations with musicians and designers 

from the Cranbrook and CalArts scene; including Deck, P. Scott Makela and 

Reverb. "Most of the designers I work with are thinkers; they're putting their 

heads into a job and suggesting things that inform me," says Plansker. 

2 

5 

Fella, who incidentally knew Plansker's father, was a natural choice for 

Plansker's "Candy Everybody Wants" video with the band 10,000 Maniacs, 

a song based on a Noam Chomsky analysis of consumerism in a "spectator 

democracy:' "His work is playful and the song was playful;' says Plansker, who 

asked both Fella and Makela to work around the theme of candy and media 

criticism. Fella, preferring these days to avoid commercial work, instead handed 

over a stack of his sketchbooks. "He had these things that are now referred 

to as Fellaparts [an Emigre font], which looked like disfigured, melted choco- 

lates;' says Plansker, and this visual candy makes an appearance in the video 

along with Makela's typobytes and Plansker's subvertisements, flashing 

onscreen like subliminal messages. 

A good collaboration, says Fella, results in something that is "more than the 

sum of its parts. When two people get together and come up with a third thing 

that neither would have done His collaboration with Plansker, he admits, was 

more a successful noncollaboration. But he sees a similarity of approach in 

their respective creations. "My stuff is filled with debris, just like his work. He 

must have found some kind of affinity with it, just as when I saw his work I 

said, 'Wow, that's what I would do if I were doing film:" 

The two also share a reluctance to dilute their work for mass media. Fella's 

posters are eccentric to the point of being impos- 

sible to imitate. And Plansker's revel in absurdity 

to the point of being obtuse. A print subvertise- 

ment of a man tied to a tilting armchair is matched 

with the copyline "the perfect combination of 

power and luxury." An image of chocolate sauce 

being poured over a tube amplifier is set with 

the tagline "the bland leading the bland." 

But experimentation beyond the confines of a 

design brief is, as Fella has observed, a way of moving design forward. "You 

either have to become the most facile professional of them all or chip away at 

it somehow," he said to Keedy. "Chip away at that conceit of the slick profes- 

sion that gets ever and ever tighter:' As Plansker observes, the more obtuse 

the work, the less likely it will be caught and gutted by the mainstream media. 

"Everything 'revolutionary' and 'alternative' gets instantly sucked into the 

media machinery" he says. "This takes a form that hopefully has a built-in sab- 

otaging device, which I think is absurdityf 

PETER HALL, A GONTAIONTING EDITOR Of U&t.C. IS SENIOR WRITER AT 1.0. MAGAZINE. 

SUBHEAD: ITC JELLYBABY, ITC CONDUIT BOLD, BOLD ITALIC WO/BYLINE: ITC FLORINDA 

TUT/CAPTION: ITC EASTWOOD, ITC CONDUIT LIGHT, LIGHT ITAUC

iTO fONTS 

T M 

ITC WILD WEST 

OirLI 

4-----*JtItt\ISLIVr? e—f RaP* 

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Imagine that you need to illustrate a brochure about cowboy poetry—and you're not 

an artist. Or imagine that you really crave a big illustration of an ornamental stirrup. 

That's the kind of need fulfilled by ITC Wild West, an eclectic DesignFont full of 

people, objects and motifs suggestive of the American West. Designer Janet Chavis 

lives and works in McCall, Idaho, specializing in logo design and illustration. For 

Wild West, she started with a border design she had used on a self-promotional T- 

shirt, then expanded in all directions. The musical instruments, for instance, were 

inspired by a collection of old bluegrass instruments that hang in the shop of a local 

luthier in McCall. "This collection grew from the encouragement of Ilene Strizver, 

ITC's director of typeface development, and my love for Western memorabilia," says 

Chavis. "These designs reflect the love I have for living and working in the Rocky 

Mountain West:" Chavis drew the Wild West ornaments in a clean pen-and-brush 

style, where a few shapes and lines sometimes stand for a great deal of implied 

detail. The illustrations work independently, although some group neatly by style 

or subject and cry out to be used together.

ITC Conduit Light 

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8cfl/E@*#%$("!?"---.,:;)[ -rt>

ITC 

Take one old s le roman type, then turn it into a pile of little sticks, 

but keep the classic form of the letters: you might end up with something like ITC Eastwood 

(named for Clint). At text sizes, it simply looks interestingly rough; at display sizes, it looks 

like a 16th-century French face seen through a monochrome kaleidoscope. British designer 

Martin Archer, who now manages a restaurant in Los Angeles, was looking for an ordinary, 

plain old style typeface with open lowercase letterforms; he ended up using Stempel Gara- 

mond as his starting point, although Eastwood evolved well beyond its inspiration. With its 

semi-inline effect, Eastwood looks like a quick outline sketch by the sort of typographer who 

can quickly draw an intensely elegant serif typeface in a convincing manner. And who knows 

how to space it properly, too. 

TM 

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FROM AMERICAN WOOD TYPE 

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LUIS SIQUOT FOUND THE INSPIRATION FOR ITC FLORINDA IN ROB ROY KELLY'S AMERICAN WOOD TYPE: 1828- 

1900, A FERTILE SOURCE Of DISPLAY TYPES RIPE FOR REVIVAL WHEN HE PUBLISHED THE BOOK IN 1969, KELLY 

THOUGHT THAT ALTHOUGH THE 19m-carom TYPE DESIGNS WERE FINDING NEW USES IN THE WORK Of CONTEiVI 

PORARY GRAPHIC DESIGNERS, THEY WERE DOOMED TO OBSOLESCENCE. SIQUOT, ON THE OTHER HAND, FINDS THAT 

THE UNLIMITED POSSIBILITIES Of DIGITAL TYPE GIVE THESE OLD DESIGNS A WHOLE NEW LIFE. HIS MODEL FOR 

FLORINDA IS IDENTIFIED ON PAGE 316 Of KELLY'S BOOK AS "NO. 515. PATENTED BY WILLIAM PAGE IN 1881:' 

ALTHOUGH THE SAME CAPTION APPEARS UNDER A DIFFERENT FACE WITH SIMILAR FEATURES ON PAGE 290. SIQUOT, 

WHO ALSO DESIGNED ITC JUANITA, LEARNED THE NUTS AND BOLTS OF DIGITAL TYPE DESIGN BY DIGITIZING 

SEVERAL TYPEFACES FROM AMERICAN WOOD TYPE, Of WHICH ELORINDA IS THE FIRST TO BE FINISHED FOR 

INTERNATIONAL USE. AS HE SAYS, "THE IDEA Of fLORINDA DOESN'T ACCEPT LOWER CASE:' SO HE ADDED SMALL 

CAPS "TO INCREASE THE COMPOSITION POSSIBILITIES:' TO DO SO, HE REDREW THE SMALL CAPS TO HARMONIZE 

WITH THE FULL CAPS. "FROM THE MODEL I MAINTAINED THE FORM AND `COLOR' BUT I CHANGED LETTER SHAPES 

AND PROPORTIONS, ALWAYS TRYING TO BE FAITHFUL TO THE ORIGINAL SHAPE:' TO A MODERN EYE, FLORINDA 

LOOKS LIKE FRANKLIN GOTHIC WITH BUMPS: A QUIRKY EFFECT AT DISPLAY SIZES, AND AT TEXT SIZES LEGIBLE 

BUT LOOKING AS THOUGH THE WORDS WERE CROSSED OUT WITH A FINE LINE THROUGH THE MIDDLE. 

28

EICIILIO, ORNAMENTED LETTERING 

BEICH 

ERUU 

BY MCA MUELLER 

CORRSSTTUu 

VVWW) xcosaz 

&Pi in@fftrntiESO 

(11I??4,vm... 

127Y567890 

rekflith 

ITC BUCKEROO MAKES NO 

BONES ABOUT ITS ORIGINS: 

NOT ONLY DOES IT LOOK LIKE 

THE BOLD, ORNAMENTED LET- 

TERING FOUND ON SALOONS 

IN THE OLD WEST, BUT, WITH 

THE NOTCHES CUT OUT OF THE 

ENDS OF THE LETTERS, IT EVEN 

APPEARS AS THOUGH SOMEONE 

HAD TAKEN OUT HIS SIN-GUN 

AND SHOT THE SIGN FULL OF 

HOLES. RICK MUELLER'S INSPI- 

RATION FOR Buciusium WAS A 

BOOK TITLE THAT HE SAW SEV- 

EMAIL. YEARS AGO, SET IN A VERY 

BLACK DECORATIVE TYPEFACE. 

FROM THAT STARTING POINT, 

RE CREATED HIS OWN DISPLAY 

TYPEFACE. "I DREW THE BASE 

SHAPES DIRECTLY IN ILLUSTRA- 

TOR, THEN MOVED THEM TO 

FONTOGRAPHER TO BUILD THE 

ALPHABET AND THE REST OF 

THE CHARACTERS;' HE SAYS. 

FT4 DRIMUT ITC Outback 

ITC DRYCUT, LIKE ITC OUTBACK, IS DV Sellbt PICHII 

BASED LOOSELY ON THE TRADITION 

OF HEAVY "WOOD-CUT" TYPEFACES, 

BUT IT TAKES THE OPPOSITE TACK: A ADUCCDDie 

SHARP, CLEAN EDGES, EVEN THE 

WHITE CUT MARKS AND BLACK SLIV- 

(RS LOOKING LIKE SHARDS OF GLASS. 

"THE SLIVERS AROUND THE EDGES 

SUGGEST TRACES LEFT AFTER AWK- 

WARD MOVEMENTS OF A KNIFE, 

WHICH ARE OFTEN VISIBLE ON OLD 

WOODCUTS;' SAYS VANCOUVER- 

BASED DESIGNER SERGE 

"FOLK ARTISTS OFTEN DIDN'T CARE 

MUCH ABOUT REFINING THEIR 

CARVINGS—THE SLIVERS WOULD 

HAVE BEEN LEFT AS LON6 AS THE 

LETTERS REMAINED READABLE:' 

THE LETTERS ALL HAVE A SLIGHTLY 

DIAGONAL MOTION, ACHIEVED BY 

COMBINING A SLIGHT INCLINATION 

WITH THE DANCING SLIVERS. 

M 0 0 P P 

ITC Outback comes out of Bob Atom's 

background at Photo-Lettering in New 

York, where he has worked for a total of 

)) years. Outback is a contemporary type- 

face in the "distressed" mode, crude and 

rough, but embodying Alonso's long expe - 

rience of how a display typeface works. 

It's condensed, very economical of space, 

and quite bold. In a way, it weds the rus- 

tic '105 feel of Rudolph Koch's Neuland 

with the proportions of a '60s headline 

face, then roughs up the edges '90s style 

with a coarse wood-file. Outback is clearly 

intended for display, but it reads surpris- 

ingly well at sizes as small as 18 point. 

A tOti 

By Bob Alonso 

AaBbCcDdLe 

rfGQHhiiJjKk 

1,1NmOoPpQq 

RrIsTtlluilv 

WwXxYyZz 

&1111@*.# 0/0StiY 

(1?"tt>

When the Stork CIA closes . 

cdef cj 'jklwlnopc vtivwxtizEtfifl@*#%$TfV124567890 

BCOEFG-H1 41/10 PQRSTIAVWXYZ(a!?"---,.:;)[">

BY PHILL GRIMSHAW 

Light 

abcdefghlIklmnopqrstuvwxyz 

ABOLNHIJKLMIIOPORSTUVWXYZ 

&fif10*#%$(" 1 ?"---,. ,) 125450890 

Bold 

akdefghijklmnopqrstuvwxyz 

ABOENHIJKLMNOPOKSTUVWXYZ 

&fif10*#%$(1?"---,.:;) 1234508,0 

"I still had 'tlou 

The playful ITC Noovo grew out of P 

still had 'Nouveau' coming out of my 

Manchester and then got A master's i n design f rom the Royal College of Art in London, works by prefer— 

ence on paper rather than on the (o 

"when I was missing the smell of per 

smooth the edges in ITC Rennie Mack intosh, Or mshaw reveled in drawing Noovo at A relatively small size, 

retaining the resulting rough edges 

Noovo is highly stylized, it works AS 

Glass font at the same time he drew Noovo, an 

two fonts can CASilg be used togeth 

e 

ill Grimsh aw's work on ITC Rennie Mackintosh, when, as he says, "I 

ars!" Gni 

pater. He drew Novo after a series of computer—intensive projects, 

anent MA 

nd slight fluctuations of line weights in the final font. Although 

r. 

ea 

text fac 

' coming out of mg ears." 

shay, who studied type and lettering under Tony Forster in 

ker pens and the feel of paper" After the decision to 

AS well AS in display. Cirimshaw WAS working on his Stained 

although the letterforms are entirely different, the 

c -6 H ki r s vv &Q -0 .4 *# %VI 2 4 5 ,6 r( 8 9 0 

art- - ___J ■- 

AgC17EF6-T-41 -11/kil'\!0(17'sql3TTiVliOcT -2,&1 -0-6/a*#76 %1 2,S4.5 6r(890 

MEC' 114 

31 

rrre;g-6114o sv4.3.)sts th-e 4Ash 

‘)-6K\r;-6 of Pr Ck, sketchy Calli - 

KAphy 12y A C01414-61111A14, tkicooli In of( spiAtmKs of itlk All ovK 

the pAfQ-eK.11/ kAIN4 is coc#11t, q cAllivzAph-eK(Phill 0

'50 

cYfe-W, rvo; 

11) 

PAJ AAil,r

gge grtie cfrit" 

eyriffic 

5YC gru e grit eyriffic, 8y Ptadimir 

3)efimov, is an edgy, nervous-tooIing 

display type that uses entirety 

cursive fetterforms. Eihe its Latinafpha6et 

cousin, it's reminiscent of 

some of the Central european roman 

faces designed in the first haff of this 

century, as welt as earlier Russian 

manuscript hancfs. ghe apparently 

artless &it carefutty modulated irregularity 

to its outlines male it toot 

rough and handmade. 

Friz Quadrata' 

Cyrillic 

Friz Quadrata Cyrillic, by Aleksandr 

Tarbeyev, brings an old ITC favorite into 

the Cyrillic world. Like its roman counter- 

part, this face achieves its visual char- 

acter by modulating its strong strokes 

with subtle wedge-shaped serifs and the 

suggestion of a joint where strokes don't 

in fact quite join. A cursive version trans- 

lates the decorous curves of the later 

Friz Quadrata Italic into an open Cyrillic 

cursive lowercase with caps that are 

inclined versions of the regular caps. 

Both versions also come in a bold weight. 

Cyrillic 

ITC Korinna Cyrillic, by Lyubov Kuznetsova, 

adds the Extra Bold and Heavy weights to 

the existing Regular and Bold weights of 

ITC Korinna Cyrillic, including cursive. The 

original Art Nouveau typeface Korinna was 

available in pre-revolutionary Russia in a 

popular Cyrillic form, and in the Soviet 

years it was one of the few such typefaces 

that didn't get purged from the composing 

rooms as decadent and bourgeois. It held 

a special place in the hearts of Russian 

designers, and now, in the post-Soviet fascination 

with all things from before 1917, 

ITC Korinna fills a much-needed niche for 

digital type in Russia. Because of the existing 

metal type, Kuznetsova didn't have to 

look far to find appropriate Cyrillic letterforms 

to complete the alphabet. 

Frc Be ngu iat Gothic 

Cyrillic 

ITC Benguiat Gothic Cyrillic, by Aleksandr 

Tarbeyev, benefits from some of the same 

associations as ITC Korinna, since the 

underlying forms of ITC Benguiat Gothic 

(and its serif cousin, ITC Benguiat) are 

based on Art Nouveau lettering styles, as 

interpreted by Ed Benguiat in the '705 

This release adds the Medium and heavy 

weights, with their cursive forms, to the 

already-released Book and Bold weights. 

REGULAR 

Oplig KBaApaTa® 

COBepWeHCTBO B TvmorpacpviKe —He 6on 

ee, gem peaynbTaT onpegeneHHoro no,n,x 

oAa. Ee npenecTb BO BHSITHOCTI4 3aMbICIla; 

ycepgme—gonr ocpopmmenn. B cope 

ITALIC 

Cosepwancm6o 6 munoepa0uKe—He 6on 

ee, gem pe3ynbrnam onpedeneHnoeo nodx 

oda. Ee npenecmb 80 81-151MHOCMU 3ambic 

na; ycepoue—done o0opmumenn. B coep 

BOLD 

ITC Cyrillic FOURTH SERIES 

The latest releases in ITC's program of Cyrillic typeface development fills 

out a couple of existing families and adds two new ones, all designed and 

digitized by staff designers at the Moscow offices of ParaType, a division 

f P r ph r inl 

ATC spy gown' 

zaittjax tom agitit-drat imunpo... 0, no 

0a.ftbatta&tii 9x3eatnitapi ITC KopHHHa® 

COBelpilleHCT80 B Tnnorpaclinme —fie 6o 

nee, gem pe3ynbTaT onpeAenennoro no 

Axona. Ee npenecTb BO BIHITHOCTH 3ambi 

cna; ycepnne —Awn ocpop sI. B COB 

BOLD ITALIC 

Cooeptuencmoo a muno r N r h, e—ne 

6onee, gem pe3ynbmum on 

o noaxoaci. Ee npenecmb so 

mu 3aMblefla; yeepaUe—a0 

MEDIUM 

CoBepwericmo B Trinorpacprme—He 6one 

e, gem peaynbTaT onpegenehmoro nogxog 

a. Ee npenecTb BO BHSITHOCTII 3aMblcna; y 

cepgme—gonr ocpopmriTenn. B coapemeH 

MEDIUM ITALIC 

Cosepwemc -rso s Tnnorpaybnrce—He 6on 

ee, Ltem pesynbrar onpeieneHtioro flop < 

o,ga. Ee npenecrb BO BtIRTHOCTI1 sambicna; 

yceoAne—ponr ocbopmnrenR. 8 cospeme 

HEAVY 

CoBepwencmo B Tnnorpa(Pruce—ne 6 

onee, gem pe3ynbTaT onpegienenmoro 

nowcoAa. Ee npenecrb Bo Eninmoc -rn 

3aMblcna; yceppne—Aonr ocpopmn -ren 

HEAVY ITALIC 

CoBepwencrBo B rnnorpagnme—ne 6 

onee, gem pe3ynbrar onpeAenennoro 

nopmo4a. Ee npenecrb BO BHATHOCTI1 

3ambicna; ycepqne— 'par ocpopmnren 

EXTRA BOLD 

COBepaleHCT80 B THnorpatp4xe— He 

6onee, mem pe3y.nbTaT onpenenennor 

o noAxona. Ee npenecTb BO BHSITHOCT 

H 3aMblcna; ycepAne—A0J11" oci3opmn 

KURSIV EXTRA BOLD 

Cosepucencmoo s munozpa(puice—n 

e 6onee, gem pe3y/tbmam onpeaenen 

HOZO flOaX0aa. Ee npenecmb so emu 

MHOCMU 3aMblcna; ycepaue—aone o 

HEAVY 

Conepmencirso B rwinorpa4)HHe — 

He 6onee, ',tem pe3ynibTaT onpeRe 

neHmoro nopoLo,r4a. Ee npenecirb B 

0 BHSITHOCTH 3aMblcna; ycepgHe 

KURSIV HEAVY 

Cooepucencmoo s munozpactrumene 

6onee, mem pe3ynbmam onpeae 

nennoz axoaa. Ee npenecmb so 

COMM 3ambecna; ycepaue- 

HARACTER COMPLEMENT 

AS r/APF3EECHOSH 

liJ J1JbMH1-1)0FIP 

rh Y X 11 4-11,11111111) 

1)113/051a6BrfrA1jeeemi 

S3litiiIKAJUbMH11301113CT 

hySTAMIVI 1,11.111WbbIb31051 

1234567890$LN2 (#*1- 

§11%)["9,""«»11:;,-!?---1

gleg 

(Mat Sronto 

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at la the Modem Convenience 

of Online ShoNaing! 

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www.imageclub.com orders 1.800.661.9410 free catalog 1.800.387.9193 fax 1.403.261.7013 Image Club Graphics 

Adobe A Division of Adobe Systems Incorporated 

ULC697 

Circle 4 on Reader Service Card

REVIEWS 

BY LEWIS BLACKWELL 

I have been invited to give some insight into the hot titles for the designer's studio. Indeed the phrase 

classics for the bookshelf" was uttered, but I fear it is a little early to identify classics, given the 

caveat of drawing on those recently published. 

My qualifications for this task are many and varied. For one thing, I read books [no longer to be assumed) 

and for another, I write them. I also edit and publish a monthly magazine and a CD-ROM for designers 

and thus keep a close eye on the readers' interests and the state of the market. This position provides 

me with my chief qualification for the job at hand: the privilege of receiving heaps of review copies, and, 

having an expense account for the few things that are not sent in free but are nonetheless desir- 

able. Of course, this could be seen as disqualifying me from being at all suitable as I rarely face the 

grim challenge of handing over real, non tax deductible money. So bear that in mind as I blithely advise 

on how to blow a few hundred dollars. 

Faced with such a choice of media, the devising and publishing of books for designers is a strange 

business, and getting stranger all the time. A look at the booksellers' sales charts reveals that the 

bestsellers are truly Jekyll and Hyde in their split nature. I'll let you decide which is the civilized 

side, which the monster. 

At one extreme there are the ever-more numerous doorstop-sized software manuals, usually with 

thin soft covers but quite often at a hard-cover price. This premium pricing is questionably justi- 

fied by the insertion of a CD-ROM inside the back cover, which carries a clutch of stuff you could 

have downloaded off the Internet. Well, at least it saves on the phone bill. Such books are almost 

invariably printed monochrome on something slightly worse than standard photocopier paper. 

Which is fine, as the book is almost out-of-date by the time you get it home, such is the pace of 

software updates. No sooner have you absorbed those quick key combinations for snappy effects 

in Fontastic 4.5, than a mailer arrives advising that your life is but a squalid struggle to survive 

without full knowledge of Fontastic 4.6. 

Enough of that side of the market. The other extreme of designer book publishing is where the fun 

begins, fueled by tradition, new media and the vague belief that designers can't read anyway. This 

other extreme is that of books not as manuals, but as cultural artifacts pumping out inspiration, pro- 

paganda, and whatever else turns you on. It is where classics, if they lurk anywhere, might be found. 

I have to admit to a sense of having exploited this area myself, notably with THE END OF PRINT 

(Laurence King/Chronicle), which I wrote around the work of David Carson. Our publishers advise 

us this is the fastest selling, or even the best-selling, design book in the history of the universe, but 

we are not exactly talking airport bookstall sales. However, the 120,000 or so out there include many 

copies, I suspect, that are well-thumbed but largely unread. While young designers work hard at 

acquiring the grace notes of David's graphics, fewer explore the readability of the longer texts. And 

that's fine by me: I've plenty of books on my shelves that are still unread, but may be one day 

(Finnegan's Wake and its 65 languages might have to hang on for a while longer). 

That many people choose to read books at best in a haphazard fashion is not necessarily some- 

thing to despair about as if it is inevitably a problem, but rather to understand. I fear Robert 

Bringhurst's THE ELEMENTS OF TYPOGRAPHIC STYLE (Hartley & Marks) is part of the problem 

rather than the solution. It is now in a second edition, suggesting it is some kind of hit, but its 

preachy self-righteous manner and stuffy design leave me cold. The least you expect of tradi- 

tional book design is that the margins are decent so that the text doesn't disappear into the spine. 

Somebody out there might be benefit from the facts, factoids and feisty opinions of Bringhurst, 

but I'll have to pass. It is occasionally amusing for the fatuous nature of some of the advice, always 

summarized in neatly numbered maxims, such as: "6.2.2. Choose faces that can furnish whatever 

special effects you require." And don't forget to wash behind your ears. That said there are many 

practical points to chew on...perhaps it should be commended to all students and young designers 

as an object suitable for deconstruction. 

And that buzzword brings me onto my favorite graphics book-as-object of recent months, PROCESS 

(Thames & Hudson). This is an object assembled by Tomato, the very trendy London-based collective 

of designers, filmmakers, musicians, illustrators and more. It is not a book about design, but in its 

fractured typography and abstract imagery it explores process in art and communication. This book 

establishes certain ideas about the preoccupations of designers at this time. It mixes paper stocks and 

has an understated cover—little points that I love as I can just sense the production and sales directors 

in the publishing company twitching over these departures from convention and economy. There are 

texts, often quite lateral to each other, which repay reading. The fractured bits of type, too, are broken poems 

of variable quality. There is spread after spread of meaningful/meaningless abstract digital stuff, with 

some recognizable imagery...well, have a look. I liked it, many won't. It's a bit like a piece of music, or a 

Continued on page 40 

35 

now complete 

THE ORIGINAL DESIGN 

BY GERARD UNGER* 

YOU'RE 

HOLDING 

OUR 

SALES 

BROCHURE 

Direct from the designer. 

Type -1 and TrueType 

for Mac's and PC's. 

Light To order or for 

For magazines, 

more information, 

newspapers LIGHT SC & OSF 

phone or fax: 

and many 

Light ight italic 

other jobs. 

00 31 35 69 22 085 

LIGHT ITALIC SC & OSF 

Regular 

REGULAR SC & OSF 

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REGULAR ITALIC SC & OSF 

Bold 

BOLD SC & OSF 

Bold italic 

BOLD ITALIC Sc & OSF 

Extra bold 

EXTRA BOLD SC & OSF 

Extra bold italic 

EXTRA BOLD ITALIC SC & OSF 

Bold condensed 

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Bold condensed italic 

BOLD CONDENSED ITALIC SC & OSF 

COPYRIGHT C) LINO1YPE-HELL & GERARD UNC.ER, 1995, ALL RIGHTS RESERVED 



The designer of Gulliver 

This issue of U&Ic, like 

every one since the first 

in 1973, was printed by 

us—Lincoln Graphics. 

Every page tells you why 

we continually win awards 

for printing excellence from 

organizations such as 

PIMNY, AIGA, and PIA. 

And if we print this well on 

newsprint, imagine what 

we can do on top quality 

paper. 

Whatever your printing 

needs—publications, catalogs, 

brochures, inserts— 

we provide total service. 

From concept, through 

production, to mailing. 

When you've finished reading 

our sales brochure, call 

us at 516-293-7600. 

Lincoln Graphics, Inc. 

1670 Old Country Road 

Plainview, New York 11803

ITC Resellers 

ITC typefaces, including the Fontek' collection, are available from 

a worldwide network of font resellers. These typefaces are available 

in a variety of digital formats for both the Macintosh and PC, as well 

as other computer platforms. For more information, please contact 

the reseller nearest you or contact ITC at (212)949-8072 ext.124. 

ril Adobe Systems Europe Ltd. (UK) 

T: 011-44-131-453-22-11 

Adobe http://www.adobe.com 

FA Adobe Systems Inc. (USA) 

r T: (508) 658-5600 or 

Adobe (800) 424-TYPE (8973) 

F: (408) 536-6799 

http://www.adobe.com 

AGFA, Agfa Division/Bayer Corp. (USA) 

T: (508) 658-5600 or Letraset 

4IE) (800) 424-8973 

F: (508) 657-8568 

http://www.agfahome.com 

Bitstream Inc. (USA) 

T: (617) 497-6222 

Olf) F: (617) 868-4732 

http://www.bitstream.com 

/\ Elsner+Flake Designstudios 

(Germany) 

T: 011-49-40-3988 3988 

F: 011-49-40-3988 3999 

http://www.tripleclick.de/ 

fontinform 

0 ESSELTE Esselte B.C. (The Netherlands) 

T: 011-31-348-415084 

F: 011-31-348-421203 

http://www.esselte.com 

0 ESSELTE Esselte SA (France) 

T: 011-33-1-44-85-1759 

F: 011-33-1-42 2989 44 

0 ESSELTE Esselte SA (Spain) 

T: 011-34-1-381-4736 

F: 011-34-1-381-5120 

F E S Faces, Ltd. (UK) 

(at T: 011-44-1276-38888 

F: 011-44-1276-38111 

FontHaus (USA) 

T: (800) 942-9110 

F: (203) 367-1860 

http://users.aolcom/ 

fonthaus 

FontShop Australia 

T: 011-61-3-9388-2700 

F: 011-61-3-9388-2818 

FontShop BVBA (Belgium) 

T: 011-32-9-220-26-20 

F: 011-32-9-220-34 45 

FontShop Canada 

T: (416) 364-9164 

F: (416) 364-1914 

Poet FontShop France 

T: 011-33-1-43-06 92 30 

F: 011-33-1-43 06 54 85 

http://www.fontshop.jca.fr 

FontShop GmbH Berlin (Germany) 

T: 011-49-30-69 58 95 

F: 011-49-30-6-9288 65 

http://www.fontshop.de 

FontShop International 

(Germany) 

T: 011-49-30-69 37 022 

FontShop Norway/Luth & Co 

T: 011-47-22-25 48 20 

F: 011-47-22-25 49 20 

FontWorks Ltd. (UK) 

T: 011-44-171-490-53 90 

F: 011-44-171-490-5391 

http://www.type.co.uk 

slats 

Letraset 

Letraset 

Letraset 

Linotype-Hell 

Letraset Australia 

T: 011-61-2-99-75-1033 

F: 011-61-2-451-1815 

http://www.letrasetcom 

MONOTY PE Monotype Typography Ltd. (UK) 

T: 011-44-1737-765-959 

F: 011-44-1737-769-243 

http://www.monotype.com 

Treacyfacesr 

Graphic Arts Products (PTY) Ltd. 

(South Africa) 

T: 011-27-11-887-6410 

F: 011-27-11-440-4932 

Image Club Graphics (Canada) 

T: (403) 262-8008 or 

(800) 661-9410 

F: (800) 814-7783 

http://www.imageclub.com 

Letraset Denmark 

T: 011-45-42-84-93 00 

F: 011-45-42-91-0614 

Letraset Deutschland GmbH 

(Germany) 

T: 011-49-69-42-09-94-22 

F: 011-49-69-42-09-94-50 

Letraset Export (UK) 

T: 011-44-1233-62 4421 

F: 011-44-1233-64 6903 

Letraset Letraset Italia srl (Italy) 

T: 011-39-2-392-16677 

F: 011-39-2-392-16135 

Letraset Letra set USA 

T: (800) 342-0124 

F: (201) 845-5047 

Linotype-Hell AG (Germany) 

T: 011-49-6196-98-2731 

F: 011-49-6196-98-2194 

http://www.linotype-hell.de 

Linotype-Hell Linotype-Hell Co. (USA) 

T: (516) 434-2000 

F: (516) 434-2720 

http://www.linotype.de 

MEM Monotype Typography Inc. (USA) 

T: (847) 718-0400 or 

(800) 666-6897 

F: (847) 718-0500 

http://www.monotype.com 

Paleda AB (Sweden) 

T: 011-46-8-350100 

F: 011-46-8-350014 

ParaGraph International 

(Russia) 

T: 011-7-095-129-1500 

F: 011-7-095-129-0911 

http://www.paragraph.com/ 

paratype 

Precision Type (USA) 

T: (800) 248-3668 

F: (516) 543-5721 

Treacyfaces, Inc. (USA) 

T: (203) 389-7037 

F: (203) 389-7039 

http://wwwtreacyfaces.com 

TypeUSA 

T: (800) 897-3872 

F: (312) 360-1997 

ITC 

DISPLAY 

Reseller 

36 

ITC American ewriter ® 

Light, Light Italic, Medium, Medium Italic, Bold, Bold Italic 

ITC American Typewriter® Cond. 

Light, Medium, Bold 

ITC Barcelona® 

Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, 

Heavy Italic 

ITC New Baskerville® 

Roman, Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Black, 

Black Italic 

ITC Benguiat® 

Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic 

ITC Benguiat® Condensed 


ITC Berkeley Oldstyle® 

Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, 

Black Italic 

ITC Bodoni- Six 

Book, Book Italic, Bold, Bold Italic 

ITC Bodoni" Twelve 


ITC Bookman® 

Light, Light Italic, Medium, Medium Italic, Demi, Demi Italic, Bold, Bold Italic 

ITC Caslon No. 224® 

Book, Book Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic 

ITC Century® 

Light, Light Italic, Book, Book Italic, Bold, Bold Italic, Ultra, Ultra Italic 

ITC Century® Condensed 


ITC CerigoT' 

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40 

Continued from page 35 

painting—that's part of the point it is making about design, which is a controversial one, of course. All that 

struggle for rationalism, and along comes a generation of designers who keep emphasizing subjectivity. 

So what about the old heroes? Before his death last November, Paul Rand left us with a parting shot at 

the latest generation. FROM LASCAUX TO BROOKLYN (Yale University Press) trashes the philistinism of big 

business, while celebrating those clients who bought Rand's ideas. There are some familiar projects trotted 

out from his earlier books, but still put with panache. The tetchiness and egocentricity aside, Rand's writing , 

all about intuition—you had it or you didn't, and we knew on which side he fell—or pitching rigorous 

rationales for why his way of doing it was the right way. 

One great designer who doesn't seem to hang up on claiming his work works, is Alan Fletcher. In # 

BEWARE WET PAINT (Phaidon) he re-edits nearly 40 years of output to provide a vibrantly illustrated 

volume which does little to acknowledge the origins of the pieces—the brief, performance, problems, 

and so on—but celebrates everything in the manner of a painter's retrospective. There are essays writ- 

ten by a range of writers that tend towards the hagiographic. For the most part, they are best ignored. 

This book stands by whether or not you love Fletcher's distinctive style, which could be crudely sum- 

marized as using splashy paint and little jokes at any opportunity (well, he did suggest that with the 

title). Deceptively simple, Fletcher is a king of the visual pun—and we have plenty of evidence all around 

in commercial communication that it is remarkably difficult to come up with and execute good puns. 

The book is well produced, and is a more enjoyable book than the chunky Pentagram publications over the 

years to which Fletcher inevitably contributed. In Beware Wet Paint there is a sense of him casting off thr 

shackles of having to pretend his work is anything more or less than an artistic response. 

Such a monograph-like book contrasts markedly with the strange fruit that is PURE FUEL (Booth-Clib- 

born Editions). This is a polemical exercise from another London-based collective, three designers 

called Fuel (sorry to keep plugging the hometown boys, but my excuse is that this city is supposed 

to be hot at present). I particularly admire Fuel for their defiant quest to take graphic design beyond 

puns, beyond styles. Ironically, along the way they have started to produce a body of work (clients 

include Levi Strauss and MTV) that is distinctly hip and identifiably Fuel-like. In Pure Fuel they bring 

in numerous collaborators to create a collage of photography and texts exploring such concepts 

as "Spoilt," "Chaos" and "Leisure:' The typography is disarmingly understated, but is always sensi- 

tively handled...often ironic, always intimating other experiences. 

Another fascinating book, in a more traditionally informative mode, is Per Mollerup's MARKS OF 

EXCELLENCE: THE HISTORY AND TAXONOMY OF TRADEMARKS (Phaidon). This veteran Danish 

designer and writer has assembled an exhaustive collection of marks, and backed up the images 

with some highly informative text. This is an excellent book whatever your philosophical position 

in design. These marks and the accompanying brief notes are like haikus on visual culture. They 

don't explain a great deal, but they intimate much. 

Finally, I should be accountable for my tips by saying what I am reading at the moment. Well, a 

couple of my own books: SECOND SIGHT, which is a new book I am just finishing with David 

Carson, and REMIX, a savage reedit of my earlier 20TH CENTURY TYPE. In both of these I notice how 

little text you need to make a point (in Remix I find myself chopping down text not to dumb 

down, but to make more intelligible the story of typography). As with that copy of Finnegan'S Wake, 

words say a great deal without being read faithfully, in a line, from beginning to end (and, of course, 

there famously isn't an end in Finnegan's Wake). 

And yet having said that, for my own deviant pleasure I am reading the highly theoretical and highly 

personal and really rather long-winded THE CULTURE OF THE COPY by Hillel Schwartz (Zone Books). 

Designed by Bruce Mau's studio, this chunky number is an appealing object. But more to the point is 

that its curious quest to inquire into "striking likenesses, unreasonable facsimiles" provides much to 

reflect on in relation to typography and type design. Why do we go to so much trouble to explore and 

replicate the familiar? What are we looking for, when we don't seem to be looking for anything new? 

The book operates on many levels for many different needs in the reader, but I think any designer 

might learn something from it before tweaking another font. If only how painful it is to read for a 

longtime when the type size is a point too small for comfort. 

LEWIS BLACKWELL IS THE AUTHOR, WITH NEVILLE BRODY, OF G1 SUBJ: CONTEMIP, DESIGN, GRAPHIC 

(LAURENCE KING/RIZZOLI). HE IS ALSO THE AUTHOR OF THE END OF PRINT AND THE FORTHCOMING 

SECOND SIGHT WITH DAVID CARSON (LAURENCE KING/MONACELLI) AND REMIX: 20TH CENTURY TYPE 

(LAURENCE KING). HE IS EDITOR/PUBLISHER OF CREATIVE REVIEW MAGAZINE. 

Corrections 

In the Spring issue on page 6, we inadvertently misidentified Frank Martinez. He is with the U.S. Patent 

and Trademark Office. Simon Schama is the author who wrote so eloquently on The Netherlands. In the 

article on Sub Pop, Jesse Reyes' name was misspelled. 

was always clear and provocative. Curiously his pronouncements fluctuated between claiming design was

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www.digitalogue.co.jp/ 

fontshmt 

NORWAY 

FontShop 

Tel +47 22 25 48 20 

Fax +47 22 25 49 20 

www.luth.no 

FONTFONT 

HotHouse Design Studio 

Tel +27 (11) 485 1906 

Fax +27 (11) 485 1940 

hothouse@icon.co.za 

SWEDEN 

Typecraft 

Tel +46 (8) 663 91 23 

Fax +46 (8) 663 91 29 

info@typecraft.se 

SWITZERLAND 

Compress Information Group 

Tel +41 (1) 722 77 00 

Fax +41 (1) 722 77 01 

www.compress.ch/fontfont/ 

fonthome.htm 

UNITED KINGDOM 

Monotype Typography Ltd. 

Tel 0800 371242 (toll-free) 

Fax 0800 220692 (toll-free) 

enquire@monotypeuk.com 

Linotype-Hell 

Tel +44 (1242) 285 100 

Fax +44 (1242) 285 101 

Faces Ltd. 

Tel +44 (1276) 38 888 

Fax +44 (1276) 38 111 

106064,500@compuservescom 

USA 

FontHaus Inc. 

Tel +1 800 942 9110 (toll-free) 

Fax +1(203) 367 1860 

fonthaus@aol.com 

FontShop San Francisco 

Tel +1888 FF fonts (toll-free) 

Fax +1 (415) 398 7678 

www.fontfont.com 

Phil's Fonts 

Tel +1 800 424 2977 (toll-free) 

Fax +1 (301) 879 0606 

www.philsfonts.com 

Agfa Typographic Systems 

Tel +1800 424 TYPE (toll-free) 

Fax +1 (508)657 8568 

www.agfahome.com 

ALI:OTHER COUNTRIES 

FontShop International 

Tel +49 (30) 693 70 22 

Fax +49 (30) 692 84 43 

www.fontfont.de 


FontFont, FontFont typeface names, and FontShop are trademarks of fsi FontShop International. Other product and company names are trademarks of their respective owners. Product availabili itt subject to change without notice. Design: MvI3Designaaol.com . C01967 FS,.

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.11 

(RE)IMAGINING THE BOOK: 

BY STEVE TOMASUL5 

0 Word! 

What sort of 

Word art thou! 

Augustine asked, 

for the Word 

existed in the 

beginning but 

was not made 

while the body of 

the universe was 

that "Vast chain 

of being! which 

from God began, 

descending 

through Natures 

ethereal, angels, 

man....

A SEMIOTIC SYMBIOSIS 

JUMP-CUT, 199? 

Imagine the Internet. 

1.5 billion miles of spun glass and copper linking 173 million PCs running quadrillions 

of lines of code as quintillions of blips on silicon wafers. How many computations can 

dance on the head of a pin? A vast chain of hotlinks. 

In his book Mervelous Signals, Eugene Vance writes that "there is scarcely a term, 

practice, or concept in contemporary theory that does not have some rich antecedent 

medieval thought' This observation seems to apply particularly well in the case 

of collaboration between graphic designers and writers. The book, especially the 

Medieval book, is a profound virtual-reality device. The image/text, the contempo- 

rary reincarnation of illuminated texts, is simply a foregrounding of this multi- 

media nature that is original not in our sense of the word, but in the Medieval 

sense: that which has been present since the Origin. 

t. That is, literature too, has a material history and it is bound up with the history 

of the book which is a story of reproducibility and portability. Consider its end 

points: the cave painting, a one-of-a-kind, permanently bound to the most inac- 

cessible parts of the earth. Contrast this to the Amiens Cathedral (http://www . 

1 

* learn.columbia.edu ), an online "book" on the cathedral's history and art in which 

criticism, primary texts, floor plans, Quicktime movies and a discussion group 

can be made present—from anywhere in the world. 

Now consider the history between these end points: first the codex, the book 

in the shape of a box as opposed to scrolls like one manuscript of the Pentateuch, 

written on 57 skins sewn together to form a piece 36 meters long—a serial 

retrieval system which one reads by rolling from one scroll to another, like a 

cassette tape. With the parallel retrieval system of the codex, though, it's as 

easy to flip to page 200 as 20 and back; it is easy to begin to think what we 

would call hypertextually. Germane here is the truism that Medievals, like us, 

thought in terms of symbols. In a codex like the Moralized Bible, images linked 

texts to other texts, the Old Testament to the New. Psalm 80, for example, a 

prayer for the restoration of the Lord's Vineyard (Israel) prefigures Christ 

and this teleology is taught by a crucifixion posture of both grapes and man. 

Pushed to an extreme in the 20th century, it's easy to see what this type of 

thinking will do for traditional boundaries: man/machine; history/fiction; 

high art/popular entertainment; male/female; truth/image; private/public; 

original/copy; mind/body; text/image. Once again, stories and images are 

linked to others with the result that, as for Medievals, representation is sus- 

pect, for it is partial. The veil that separates us from?— 

Today, the re-patterning of knowledge is obviously dear to a number of visual 

artists. And activists. And just plain folks.... And, of course, authors and design- 

ers. Like perspective painting, the graphically-driven novel is a system of 

knowing, one that like the term "narrative," contains within it the collapse of 

genres. In fact, hypertext can be seen as a literalization of the type of writing 

in the Moralized Bible or any text that points to other texts. Or an image that 

points to another image. Or multimedia where one media references another. 

The Image/Text is a new, or re-newed, form for revisited means of narration, 

means of information organization. Will electric books kill the print book? Well, 

did TV. kill radio? Will the creators of all books, the designers and writers (or 

should we call them collage artists), have to consider how this experience will 

alter the ways stories are told? Well, did TV transform radio? 

The push of how we think—especially a mindset that puts genres and media in 

discourse—and the pull of technolo are what help brinzword and image together— 

in both print and electronic formats. /A ND OF COUPI THIS 

RE-IMAGINING IOF THE BOOK Of SE KIAR- 

RATIVE FORM IS WHAT IS BRINGING 

GRAPHIC DESIGNERS AND WRITERS 

BACK TOGETHER. 

HEADLINE: ITC CONDUIT BOLD INTRO: ITC GOLDEN COCKEREL ROMAN BYLINE/TEXT: ITC CONDUIT LIGHT, LIGHT ITALIC 

43 

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